I’ve always loved Marc Shaiman’s delightfully fun score to The Addams Family. The thematic score is immensely hummable, and when it was clear that we were able to do a new expanded soundtrack release of the music, I immediately dove right in. We got the bulk of the music from DATs, but there were a few cues that were on analog sources which we had transferred. What that meant was that we not only had the full score, but we also …

When composer Blake Neely asked me to design the artwork for a release of the score to his new HBO Documentary film, The Case Against 8, I was honored that he thought of me. Back in January, I had quickly put together the artwork for a promotional album release of the score, but this was going to be something he would be selling – so the quality of the product had to be ramped up. I was provided the layered key …

John Corigliano’s score to Altered States is truly magnificent. Containing a gorgeous love theme, as well as some rather unique and modern orchestral writing, it was nominated for an Oscar for Best Score, losing to Michael Gore’s score to Fame. I had the opportunity to art-direct the CD reissue of the album; at the request of Corigliano, the program was to remain the same, with no additional music. The original LP cover was recreated from the theatrical key art elements, and a …

My original memory of D.A.R.Y.L. was actually reading the novelization – I don’t think I saw the film for years after that. One of the movie’s memorable aspects was the thematic score by Marvin Hamlisch, culminating in the Teddy Pendergrass song, “Back Where I Belong”. Flash forward to 2013, and we’re finally going to be putting out an album for the film. Working on D.A.R.Y.L. was smooth sailing – everything was sourced from the original stereo 1/4″ reels, and we even had …

One of my favorite Hans Zimmer scores from the 1990s (aside from The Rock) is, without a doubt, The Peacemaker. The adrenaline-fueled action, dramatic Russian-styled (ala Crimson Tide) choir and emotional melodies just resonated with me for some reason. So it was truly wonderful to be able to tackle the project as a new expanded limited edition. Once we got the DATs from Paramount Pictures transferred, it was straightforward to put the album together. There was only one alternate track available (a different vocal performance), so to fill out the …

At this point, having worked on a few of these DC Universe Animated Movie soundtracks, there’s a template established which helps streamline the process of making the artwork. DC has a style guide indicating the colors that are character-appropriate, and generally the font is (coincidental or not) Gotham. Unlike some of the other direct-to-video releases, where I had to pick frames from a timecode-stamped DVD, Son of Batman actually had plenty of imagery to pick from, which made the process of laying out the …

It’s hard to believe that David Arnold’s score to The Stepford Wives never saw the light of day as a soundtrack album. Sure it wasn’t the hit film they wanted it to be, but in 2004, there were plenty of other films that under-performed at the box office and still had score albums. In any case, releasing the soundtrack was always on my list of titles at Paramount, and when it finally came up in the schedule, I was thrilled that it …

Although I didn’t create the artwork for the release of Jack Reacher, I did oversee it, and Joe Kraemer seemed happy enough with my other work that he asked me to do my first iTunes digital booklet for La-La Land Records, for the soundtrack to the independent film, Favor. As I had learned a lot about iTunes digital booklet specifications while working on Legend of Hercules, it wasn’t as daunting as that first time. Both Kraemer and director Paul Osbourn were directly involved getting …

I had never heard of The Unknown Known, but when I was assigned to do the artwork for the album, I was thrilled because it was yet another chance to work with Danny Elfman and his awesome team. In this unique case, the soundtrack was completely owned by Elfman, and so there was no studio to deal with. A selection of high resolution art assets came my way, and after the usual back-and-forth with changes, it was good to go. It wasn’t …

John Debney’s score to Lair was one of those “wow” scores. First heard in a concert suite in Spain in 2007 and then officially released with the game later that year, the score was huge and epic, filled with large orchestral themes and choral music. This new 2-disc album was sourced from 24-bit, 96kHz high resolution audio found in John Debney’s personal archive. Working with Sony Computer Entertainment America (SCEA), as well as Debney, it was definitely a challenge to pull together the album …